10 Best Movies Like The Platform To Watch Next

The Platform” is a Spanish sci-fi thriller with horror elements that debuted on Netflix in 2019. In this movie, a man named Goreng (Ivan Massagué) awakens in a daunting, gray concrete chamber created by an unspecified yet malevolent government known as “The Administration.” This chamber is situated on Level 48 of an enormous structure reminiscent of a prison, with levels ranging from the top, luxurious Level 0, complete with violinists, expensive attire, gourmet chefs, and lavish feasts, to what appears to be an endless number of lower levels. The lower the level one is assigned to, the less food becomes available, eventually leading cellmates to resort to violence and cannibalism in a desperate attempt to survive.

As a fervent admirer, I’d recount that my first unforgettable cellmate was the stern Trimagasi (Zorion Eguileor), who teased me sarcastically as a communist for my desire to aid those residing on the lower levels. This hinted at the “Administration” being a repressive, both fascistic and capitalistic regime – a reality that aligns with Spain’s troubled past of confronting oppressive fascist regimes. In the course of the movie, I encountered various cellmates and was transferred to different levels within the concrete edifice until, ultimately, I worked tirelessly to orchestrate an uprising from the grassroots.

As a dedicated gamer, I can’t help but share my excitement when I reflect on the remarkable journey of “The Platform” – a game that made waves both critically and commercially. This resounding success paved the way for its sequel, appropriately named “The Platform 2,” which graced our gaming screens in 2024. Now, let’s delve into ten other games that share similarities with “The Platform” – be it through their political themes, captivating aesthetics, or even intricate structures.

Warning: spoilers ahead!

Snowpiercer (2013)

2013’s “Snowpiercer” is the English-language debut for renowned South Korean director Bong Joon-ho, and it was inspired by the 1982 French comic “Le Transperceneige”. The story takes place on a post-apocalyptic Earth that has been plunged into a new ice age due to climate change. This global catastrophe led to the construction of an enormous, technologically advanced train, known as the Snowpiercer, by a brilliant inventor (portrayed by Ed Harris). The purpose of this train was to safeguard the remaining human population from extinction.

Regrettably, there exists a significant social disparity within the super-train, mirroring the plot of “The Platform” and real-life conditions. The privileged passengers in the front cars indulge in better meals, enjoy more spacious accommodations, and live extravagantly. On the other hand, those in the rear cars struggle with limited resources, facing hardships such as malnutrition, illness, and even death. The extreme hunger caused by the wealth gap fueled by the ruling class results in desperation… and, tragically, cannibalism. In the film, Chris Evans’ character, Curtis Everett, a rebel from the rear compartments who is spearheading a rebellion against the front of the train, ominously comments, “Babies are the best to eat,” in reference to the harsh choices he had to make to survive.

In my gaming world, as I journeyed through the cars of the Snowpiercer with my comrades, it struck me how the conditions changed the closer I got to the front – similar to Goreng’s descent in The Platform. While The Platform builds its sci-fi class metaphor vertically, Snowpiercer does it horizontally, making them both compelling narratives that explore social stratification in unique ways.

Parasite (2019)

One intriguing and complex aspect of “The Platform” is its exploration of how individuals from lower social strata might mistreat those they perceive as even lower. For example, Goreng’s initial cellmate, Trimagasi, is aware that prisoners are moved to different tiers each month and placed either higher or lower than their starting point at random. Yet, he still disregards and abuses those on levels below him in any given month by contaminating their food with his spit and urine. He justifies this behavior by stating that those above always do the same and it’s simply the way of the system, while also hinting that such actions are inherent to human nature as well.

In the second movie by Bong Joon-ho on our list, “Parasite,” released the same year as “The Platform,” a comparable situation arises. Unlike his previous work, “Snowpiercer,” “Parasite” was produced entirely within South Korea. The film narrates the tale of the impoverished yet gifted Kim family who, despite their misfortune, manage to trick their way into the lives of the affluent Park family. However, complications ensue when it’s revealed another servant from a lower social stratum discovers their deception and threatens to blackmail them, leading to tragic outcomes. Sadly, as with “The Platform,” the lower class tends to inflict harm upon themselves more than being victimized by the exploitation of the ruling class.

Us (2019)

The 2017 horror-satire movie “Get Out,” written and directed by Jordan Peele in his first feature film, gained widespread acclaim and commercial success. It earned over $250 million globally on a budget of just $5 million, and was nominated for the Best Picture award in 2018. Additionally, Peele won the Best Original Screenplay award for “Get Out” that same year.

The film, which he both wrote and directed, released in the same year as “The Platform” and “Parasite,” is eagerly awaited as the sequel to Peele’s extraordinary debut movie. In many aspects, this new production, titled “Us,” is more daring than “Get Out.” The story revolves around menacing, murderous doubles of a typical American family, dressed identically in red jumpsuits as they trail their seemingly harmless counterparts, with the intent to eliminate them and seize their lives. As the plot unfolds, it is disclosed that these doubles constitute a global peril, aiming to conquer the world.

In many aspects, “Us” shares common grounds with “The Platform.” For instance, both narratives uncover a secret government project intended to manipulate society. The characters in this project are confined in underground complexes, reminiscent of the one featured in “The Platform.” Furthermore, “Us” explores the theme of social classes and inequality, as depicted when one of the doppelgangers, Red, expresses her frustration over the luxuries enjoyed by those above them, which were denied to her family. This frustration ultimately leads to a brutal, violent clash between the characters due to their lack of alternatives.

The Menu (2022)

In the enigmatic facility known as Goreng’s prison, the Administration wields significant power through the strategic distribution of food supplies. As you learned earlier in “The Platform,” those residing on higher levels feast lavishly from the descending platform, leaving fewer and fewer resources for lower levels until none are left. Since prisoners must remain stationary on a specific level for an entire month, those assigned to the lowest food-deprived levels often succumb to madness or resort to cannibalism in a desperate attempt to survive.

2022’s satirical dark comedy “The Menu” is a clever commentary on societal class divisions using food as a metaphor. In this film, I found myself engrossed by Ralph Fiennes’ portrayal of Julian Slowik, an enigmatic high-end chef who extends exclusive invitations to the rich elite for a dining experience like no other on his secret island. As the evening unfolds, Slowik serves increasingly bizarre dishes that mirror the guests’ own questionable actions towards their employees, service staff, and undervaluing of culinary artistry. The twist? These wealthy socialites are about to become the main course because they have proven themselves unworthy by exploiting workers, disrespecting service professionals, or failing to appreciate the true essence of cooking as an art form.

In the text “The Platform,” food serves as an illustration of how authoritarian governments exploit starvation as a tool for maintaining power over their populations. Conversely, in “The Menu,” the focus is on using food to critique how capitalism and commercialization can sour creativity, art, and eventually, culture.

Sorry to Bother You (2018)

In the movie “The Platform,” the setting appears harsh and merciless, giving off a vibe that it might be a penal institution for lawbreakers or dissidents. Interestingly, although Trimagasi was incarcerated there due to murder, an unexpected turn of events shows that Goreng intentionally opted to enter this facility. Intriguingly, he agreed to serve six months inside in return for accreditation. It’s unclear how the “Administration” marketed the place, but it’s evident they didn’t disclose the true extent of suffering endured by those trapped within its walls.

In the 2018 film “Sorry to Bother You,” written and directed by Boots Riley, a comparable plot element can be found. This movie is set in an exaggerated reality where a hard-up, jobless African American man named Cassius “Cash” Green (played by LaKeith Stanfield) climbs the ladder at a telemarketing company by adopting a false “white voice” (portrayed by David Cross).

As a gamer, let me share some striking similarities I’ve noticed between the movies “Sorry to Bother You” and “The Platform.” Both films tackle gritty themes such as the relentless struggle against poverty, the entrenched class system, and the role race plays in perpetuating these divisions. In “The Platform,” for instance, we witness a chilling portrayal of how Goreng’s final cellmate, Baharat, played by Emilio Buale, is overlooked and mistreated due to his ethnicity.

Moreover, both movies delve into the manipulative tactics used by corporations to sell imprisonment as a desirable lifestyle through capitalistic marketing. In one scene from “The Platform,” they even create an advertisement that portrays prisons as trendy and attractive, much like an “MTV Cribs” episode. This is another aspect where these films echo each other in their critique of society.

They Live (1988)

Similar to “The Platform,” John Carpenter’s 1988 satirical sci-fi action film “They Live” employs a science fiction premise to critique the structural inequalities embedded within capitalistic societies and, essentially, any society built upon rigid divisions between “the haves” and “the have-nots.” In Carpenter’s narrative, malevolent aliens disguise themselves as humans, while “The Platform” presents a fictional structure equipped with anti-gravity technology.

As a devoted admirer, let me share my take on the movie “They Live”: In this gripping tale, I find myself in the shoes of a hard-working drifter named Nada, portrayed by the legendary wrestler-turned-actor Roddy Piper. Struggling to make ends meet in the bustling city, my life takes an unexpected turn when I stumble upon a unique pair of sunglasses. These glasses unveil a chilling truth – the world as we know it is under the control of sinister aliens who’ve masterfully disguised themselves among us humans.

The sunglasses reveal that money no longer reads “money,” but instead, “This is your God,” and billboards are replaced with commands such as “Obey.” Shaken but determined, I decide to challenge this oppressive regime. The movie’s most iconic line echoes through the action-packed scenes: “I came here to kick a** and chew bubblegum … and I’m all outta bubblegum!”

Armed with a shotgun, I wage war against these hidden alien forces – a battle that is invisible to everyone but me. This timeless film offers a thought-provoking commentary on consumerism, conformity, and the struggle for freedom – a must-watch for any movie enthusiast!

In both the movies “They Live” and “The Platform”, the climax sees a desperate protagonist enlisting a more hesitant character to join their struggle against a corrupt ruling class. In “They Live”, this role is played by Keith David, a fellow laborer, while in “The Platform”, it’s Baharat, a cellmate of Goreng. Both movies conclude with a symbolic, potentially self-sacrificing act that leaves the audience hopeful, as the outcome remains ambiguous but suggests success in their fight.

Cube (1997)

The film “Cube” from 1997, with its visual and storyline resemblances to “The Platform,” has been selected for this list due to its striking aesthetic and narrative parallels. In both movies, characters are confined in a single location filled with numerous, largely identical rooms. Given the minimal variations between the different colored rooms inside the titular cube of “Cube,” and the slight differences between the cells in “The Platform’s” structure, marked only by the level numbers on the walls, it can be assumed that the production process for both films may have shared some similarities.

As a fan, I’d say, “In ‘Cube,’ I find myself trapped alongside five strangers in this mysterious cube. Each room we stumble upon seems identical, except for the colored walls, but there’s always a catch – deadly traps lurk around every corner. Remember that chilling scene where a man was gruesomely torn apart by metal wires? That’s from here! The horror doesn’t stop there; there’s melting acid and other terrifying hazards. Each character reacts differently to the pressure, mirroring the responses of Goreng’s cellmates in ‘The Platform.’ It’s a rollercoaster ride of emotions, from violence and suicidal thoughts to desperate hope.

Additionally, the philosophical query arises as to who constructed the cube and for what reason. One character proposes, quite chilling, that there is no inherent purpose behind its creation, suggesting that individuals are placed within it merely to justify the effort and expense of constructing it initially.

The Hunger Games (2012)

It could appear unusual to liken a gritty, violent horror movie such as “The Platform” to a widely acclaimed blockbuster series derived from young adult novels, which once held comparable popularity to the “Harry Potter” franchise. In reality, “The Hunger Games” stands out in our list because it isn’t rated R. Yet, for those who have casually absorbed Katniss Everdeen’s thrilling journey through popular culture, there are undeniably numerous parallels between the two films.

One point of comparison between these narratives lies in their exploration of oppressive, powerful governments that exploit class divisions to exert control. In “The Platform,” this is depicted through a dystopian setting where the lower classes are segregated on various levels within a colossal concrete structure. The supply of food decreases as you move downwards, creating resentment among the lower-level inhabitants towards those who enjoy more abundance above them. Those with privilege use their temporary superiority to further perpetuate this divide.

In “The Hunger Games,” the world is divided into several distinct regions, with the wealthy Capitol imposing a brutal annual competition on the poor districts as punishment for an earlier rebellion. The contest, televised for all to see, requires citizens from the disadvantaged areas to fight each other to the death until only one survivor remains. This ruthless game between the haves and have-nots is meant to discourage future uprisings, but instead, it ultimately fuels rebellion in both movies.

Metropolis (1927)

Fritz Lang’s seminal silent film “Metropolis,” released in 1927, is undoubtedly one of the most impactful science fiction movies ever made. Its futuristic cityscape design has shaped the visual style of films like “Blade Runner.” Moreover, its innovative use of miniature models paved the way for special effects for many years. Additionally, its robot design served as a direct inspiration for the appearance of C-3PO from the “Star Wars” series. In essence, its influences are vast and far-reaching.

Just as I’ve found myself captivated by “The Platform,” so too is the classic “Metropolis” a masterpiece that employs science fiction elements to explore the deep-rooted class disparities prevalent within an industrialized world. In “The Platform,” it appears the Administration, with its opulent, fascistic, and capitalistic nature, uses a colossal, concrete structure as a tool to manipulate the masses, offering a deceitful illusion of unity that Goreng’s fellow prisoner, Imoguiri (Antonia San Juan), blindly promotes. Similarly, in “Metropolis,” an unscrupulous industrialist maintains control over the city’s working class, exploiting them until a crafty rebel inventor brings forth a robot to ignite the flames of rebellion among the oppressed workers.

The movie has been criticized in various ways; some claim it carries a communist theme due to its empathy towards the struggles of the workers in the lower half of Metropolis. On the other hand, others contend that it presents a proto-fascist narrative, suggesting that revolution is futile and workers should continue to submit to capital, with a single authority keeping order. However, regardless of Lang’s true intentions (which may not have been fascistic), the film remains an outstanding cinematic masterpiece in any case.

Strike! (1925)

Rod Serling, creator of “The Twilight Zone”, once expressed a sentiment that it’s acceptable for Martians (symbolizing alien or radical ideas) to express political opinions that Democrats and Republicans might not openly share. This means that controversial or extreme political viewpoints sometimes find their way into genres like science fiction, where they may face less scrutiny or misinterpretation, as exemplified by the portrayal of the Galactic Empire in “Star Wars”, which some fans romanticize.

Although it’s wrapped in science fiction, the core ideas presented in “The Platform” closely mirror real-world issues. In today’s society, wealth disparity is widespread, food shortages are increasing, private prisons are being constructed to manage societal unrest, and poverty and despair – a result of this wealth inequality – are significant triggers for violence. These themes can also be seen in the powerful 1925 silent Soviet film “Strike!”, which offers one of the most genuine depictions on this list.

Directed by renowned filmmaker Sergei Eisenstein, who was known for his innovative editing technique called “montage,” the movie “Strike” doesn’t revolve around a single protagonist. Much like Eisenstein’s other 1925 masterpiece, “Battleship Potemkin,” this film portrays a strike against a corrupt factory within the oppressive tsarist empire as a unified effort. Additionally, the movie seeks to underscore that the foundation of a workers’ revolution lies in grassroots actions, a notion reflected in “The Platform” when characters Goreng and Baharat strive to equitably distribute rations and send a message to higher authorities.

2025-01-29 15:32